Reviewed 12/3/05
Wait a minute; when did they move the theater in the round from Gilbert? No, that’s still there, but venerable Tempe Little Theater has decided to break up the monotony of the Tempe Performing Arts Center’s awkward seating scheme by turning the audience into all fourth walls of the Gianelli household in Joe DiPietro’s familia-oriented Over the River and Through the Woods. Should I mention that other theatre successfully produced this script in the round two seasons ago? It doesn’t matter, because this production is every bit as good (and surprisingly bad in exactly the same way) and a bit of a departure for TLT. It’s nice to see the company thinking outside the proscenium.
Who is this Linda Thorp to come in and shake things up like this? There’s no bio in the program, so I’m not sure what her story is. All that she’s done is bring the audience into the living and dining room of six very funny characters, and the evening is enjoyable for the choice. She has cast five talented actors and does a decent job of keeping them moving to avoid blocking audience sight lines. She also keeps the pacing as lively as an Italian household’s energy demands, although some of the performers seemed hesitant on the opening Saturday night when dealing with cues. One problem with giving everyone a nearly front row view, though, is how to deal with the fact that most of the actors are playing roles outside of their age range. The results vary accordingly.
As
Nick, the grandson reluctantly holding onto the tradition of the Sunday dinner
with his grandparents, Steven Ackley (pictured right) is
too young, but he gives it his best try. He is a fireball, running around
the stage and addressing the audience amiably. His dramatic moment at the
end of Act I totally does not work, but it’s not an easy one to pull
off. Still, he’s
easy to empathize with. As Grandpa Frank, Kurt Whitman is
much too young for the role, but he does an excellent job of being Frank through
precise movements and vocal inflections. He truly aces his touching speech
in the middle of the Act II. Maria Patti (pictured left)
is also too young for the role, but she is completely in the moment as Frank’s
wife Aida. I loved watching her being Aida even when she wasn’t the center
of attention. Nick’s paternal grandparents Nunzio (Jerry Whiting)
and Emma (Shirley Windhorst) are very good, and sometimes
come up with great bits to add to the wild ride.
I’m beginning to think that the role of Nick’s blind date Caitlin O’Hare is cursed. Emily Alonzo seems to have wandered in from another play entirely. Maybe not even a play, perhaps a blooper reel. Alonzo doesn’t say her lines more than she...reads...them...in...a...halt...ing...way...that...is...ex...cru...ci...at..ingly...a...nnoying. Think Christopher Walken without the emotion. Not only can’t she talk, but also she doesn’t listen when others are talking. Once again, I must say that I’m glad that this part is a very small one.
Dave Durnil’s set is wonderfully spare and excellently balanced. Herbert Budden Jr. and Laura Troyan’s lighting uses zones effectively. Annette Heath’s costumes are well-designed.
I counted over a dozen people (yes, a couple of guys, too) who were weeping at the end of the evening. The play is made for tears of joy and regret at its finale, and this production scored with many in the audience. Perhaps that’s the most effective way of getting you to give this production a visit.-30-
